Khaled’s Not ‘Suffering from Success’, perhaps suffers from a lack of innovation…
DJ Khaled⎪ Suffering From Success⎪ Cash Money ⎪⎪ US Release Date: October 22, 2013
If there is one reservation I (and likely others) have with DJ Khaled’s albums, it is that generally they all seem ‘one-dimensional’. Maybe that is a harsh critique, or maybe it’s just actual reality. Of the Khaled albums that I have partaken of in recent times, they’re always good for some top-notch club bangers (“I’m On One”), but cohesively, the albums feel like somewhat detached compilations. Suffering From Success proves no different, ultimately yielding some pleasant, head-nodding moments, but eschewing the ‘second coming’.
After intro “Obama (Winning More Interlude)”, “Suffering From Success”, featuring Ace Hood and Future, kicks off the album of the same title. Ultimately, the production work (Young Chop) is dark, malicious, and characteristic of the hardcore rap idiom. Future delivers his first of many hooks, sounding his typical, auto-tuned self: “Got too many racks on me, I can’t even go to sleep / just to get ‘em out V.I.P., I’mma need to see I.D. (I don’t trust you) / I’m sufferin’ / I’m sufferin’ from success / I’m sufferin’…” Really, “suffering from success”? Please! The best part of the so-so title track may be Ace Hood’s aggressive rhymes.
“I Feel Like Pac / I Feel Like Biggie” is much stronger, sporting production from The Beat Bully. Ah the weight that synthesized brass and a hard underlying beat carry! The inspiration seems to be full-fledged here, whether that’s just the mere mention of rap royalty or a star-studded cast including Rick Ross, Meek Mill, T.I., Swizz Beatz, and Puff Daddy. Swizz Beatz’s hook is definitely ‘on point’ as they say, while Meek Mill kills it on his verse. The momentum is propelled even further on “You Don’t Want No Problems”, yet another juggernaut assisted by Big Sean (the hook), Rick Ross, French Montana, 2 Chainz, Meek Mill, Ace Hood, and Timbaland (who produces with Khaled). There are numerous highlights, including memorable lyrical moments from Rick Ross (“On the phone at the light, Kelly Rowland’s a friend / Catfish in the Benz, Manti Teo’s a sucker…”), 2 Chainz (“They slept on me, I stopped sellin’ work and started sellin’ coffee…”), and Ace Hood (“My sanctuary’s that cemetery / my choppa, named it obituary…”)
“Blackball” follows, again relying on the ubiquitous Future for a hook (“They tryna blackball me, they say I get too much money / they want my name from me because they know what it do…” etc.). Plies and Ace Hood handle the verses, though compared to the previous duo, “Blackball” is less triumphant. “No Motive” featuring Lil Wayne sort of falls into the same boat, sounding ‘solid’, but not exceptional. The hook definitely didn’t take much thought: “F**k all you b*****s… f**k all you hoes… one million, two million, three, four…” “I’m Still” is enjoyable enough, but I feel like I’ve heard this cut over and over again. Chris Brown excels at infusing some R&B into hip-hop, but at this point it’s not truly new or rousing. Wiz Khalifa joins the lengthy credit list, rapping unsurprisingly “So high don’t see no problems / b**ch I’m on them trees like Tarzan…” It works, but doesn’t excite. Personally, I’m sick of hearing about Wiz getting high.
“I Wanna Be With You” again brings in Future, but also sees another return from Rick Ross and a debut appearance from Nicki Minaj. Minaj remains at her best when she’s raunchy, if you can handle her un-lady rhymes. Even though Minaj is a “girl on fire”, Rick Ross has arguably the best line: “That ho chick gets you no play, all I talk is cocaine.” Hit “No New Friends” is a showstopper, again rekindling some magic between Khaled and Drake (“No new friends, no new friends…f**k all y’all n***as except my n***as…”). Rick Ross hops on board (“…All I hug is blood n***a, Khaled that’s my flesh though / all I want is love n***a, money bring that stress though…”) as does Lil Wayne (“…B**ch we good-fellas, boy all them n***as with you they just pall bearers…”). The production work is aligned with the ‘Drake’ sound as the track is produced by Boi-1da and Noah “40” Shebib. A standout? Of course!
The remainder of the album is so-so. “Give It All To Me” (Mavado featuring Nicki Minaj) sounds like it’s going to be a deal breaker initially, but it’s respectable enough. “Hell’s Kitchen” has its moments, thanks to the sound and solid rhymes from J Cole and Bas. Still, “Hell’s Kitchen” sits too long. Lengthy duration also hurts the super ambitious “Never Surrender”, which manages to utilize three R&B singers in John Legend, Anthony Hamilton, and Akon. Add raps from Scarface, Jadakiss, and Meek Mill to that mix and it’s quite ‘big’. “Murcielago (Doors Go Up)” is not only ‘tired’ in name, but the song itself is a ‘C’ at best – merely average and unmemorable. “Black Ghost”, credited to Vado is ok, but like “Murcielago”, it’s nothing to write home about.
Thoughts overall? Suffering From Success isn’t really suffering from success, but it may be suffering from a lack of innovative spirit. It’s good enough, not great If you’re looking for depth, avoid it. If you want to get it poppin’ at the club, this is for you.